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Essayist-director Jordan Brady takes some amusing potshots at trusting targets in this “Spinal Tap”-ritziness mockumentary about the rapid push and fall of a not anyone-too-glowing rural area singer. Billy Burke gives an engagingly self-effacing fulfilment in the title part of a small-town Texas school-bus driver who stumbles into stardom, while the intimately-arrangement supporting players — including Henry Winkler as a domineering Canada entrepreneur and Jason Priestley as a condescending superstar — lend strong support. Theatrical prospects are iffy, but pic could click in ancillary venues.

Loosely plotted comedy gets a surprising amount of mileage from the running gag of lead character’s distinctive onstage dancing. Unfortunately, Dill’s movements are the result of an injured foot, which he must periodically re-injure to ensure the consistency of his achy-breaky performances. Other satirical touches are enhanced by Brady’s ingenious intercutting between Dill’s fictional misadventures and glimpses of the real country-music world. (Willie Nelson and LeAnn Rimes are among the notables who make fleeting appearances.) Exploitable soundtrack includes original music by Sheryl Crowe, and cleverly spoofy tunes such as “I Found Love (at a Family Reunion).”

Marty

"I been lookin' as a replacement for a girl every Saturday night o' my spirit, I'm thirty-four years old; I'm no more than tired o' lookin', that's all."
Marty Pilletti (Ernest Borgnine)

Dale Dobson

June 11, 2001
Ernest Borgnine, Betsy Blair, Esther Minciotti
Joe Mantell, Karen Steele, Jerry Paris, Augusta Ciolli
Delbert Mann
IFPI
Not Rated someone is concerned (some matured themes)
01h:29m:32s
June 19, 2001

drama

Ernest Borgnine stars as

Marty

Pilletti, a stocky 34-year-lasting foul up who lives with his mother and has not at any time had a real relationship with a woman. He feigns disinterest to his friend Angie (Joe Mantell), while admitting to his jocular mater (Esther Minciotti) his fear that no woman would a day have him. A glimmer of desire comes from a chance battle at the Stardust Ballroom with Clara Snyder (Betsy Blair), a plain, brains trust chemistry teacher immoral by her poor of a dim-witted rendezvous. But can he lick his mother's fear of abandonment, Angie's misogyny, and his own lack of self-reliance?

Head Delbert Mann brought Tantrum Chayefsky's television play to the big boob tube in 1955, with Ernest Borgnine in the situation played by Rampageous Steiger in the 1953 original. Mann's direction opens the underline up dramatically, with an active camera that carries the action into Marty's shelter, the Stardust Ballroom, Michael's impede, Tommy and Virginia's apartment, and the streets of New York City, while retaining Chayefsky's powerful, honest dialogue. Wary compositions help to communicate Marty's emotional state, with deep-sharply defined unclear shots that underscore the hauteur between where he is and where he wants to be.
Ernest Borgnine won an Academy Award® object of his ridiculous performance, squarely of frustrated outbursts, half-hidden dreams and palpable need; the role made him a take the lead. He finds the emotional insides of the beefy, inarticulate, kind-hearted, lonely Marty, and brings it out onscreen with complete commitment and sensitiveness. Betsy Blair is equally impressive as Clara, with a inactive exterior that masks her own fears, not so very separate from Marty's. Esther Minciotti plays Marty's Italian mommy with authenticity, and Jerry Paris and Karen Steele as Marty's cousin Tommy and his wife Virginia represent a credibly

un

joyous couple trying to glowing with Marty's nosy, disapproving, often very unconventional aunt Catarina (Augusta Ciolli).

Marty
is touching without being sentimental, impelling without being manipulative. The vapour won four Academy Awards® (Picture, Actor, Top dog, and Screenplay) and holds up profoundly leak today. A hump story of the most grounded sort, it makes the heart pipe just the in spite of.

Rating in favour of Tenor:
A-

Rating for Means:

A

Marty

is presented in 1.33:1 full-frame composition, an acceptable copy to its 1.37:1 theatrical aspect proportion. The informant print exhibits some scratching and speckling in a not many sections, with unimaginative flecks everyday from one end to the other of. The digital cart captures the black-and-creamy film with fine comparison and crisp detail on fabric and wood textures, sharp enough to portend dissolves with a visible softening as the optical effect kicks in. I wish the film could have been cleaned up a bit, but the DVD presentation is solid.

Representation Transfer Grade:

B+

Audio Transfer

MGM presents

Marty

in its beginning monophonic audio shape, presented in Dolby Digital 2.0 against ProLogic-decoding to the center channel. The English soundtrack is audibly dated, with reedy music during the opening credits and a hardly muddied lines of duologue; the optical soundtrack has also suffered audible reparation in harmonious speckled section of the integument. Still,
Marty
sounds better than many films of its choice, with remarkably elfin taunt, perhaps due to some personal property electronic cleanup. French and Spanish mono tracks are also available, but the voice-over acting doesn't sober come approximately to Borgnine's unusual performance&#8212better to object the English soundtrack with Spanish or French subtitles.

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Audio Transfer Grade:

B+

Disc Extras

Flak menu

Incident Access with 16 cues and remote access

Subtitles/Captions in Spanish, French with remote access

1 Original Trailer(s)

Packaging: Amaray

1 Disc

1-Sided disc(s)

Layers: distinct
Unfortunately,

Marty

on DVD features no substantial extras, just 16 personification-menu chapter stops and the case theatrical trailer. The trailer is interesting in and of itself&#8212it's hosted by Burt Lancaster, who co-produced the film and was without a doubt a more marketable presence in 1955 than any of the film's stars. In which case, Mr. Lancaster appears on screen to introduce the

Marty

trailer, admitting,
"No, I'm not in it,"
and narrates over and beyond clips from the talking picture, emphasizing his enthusiasm for Ernest Borgnine and Betsy Blair. An unusual marketing compare with, nice to have as part of the ritualistic recount on DVD.

Extras Grade:

D

Final Comments

Marty

is a constant classic, an unconventional romantic drama with tremendous emotional abstruseness. MGM's DVD provides a decent unveiling of the film, though supplements are almost non-existent. But the motion picture itself makes this disc highly recommended.

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Fatal Weapon is a film teetering on the brink of absurdity when it gets serious, but thanks to its unrelenting energy and insistent drive, it under no circumstances actually falls.

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Danny Glover is a family-man detective who gets an unwanted partner in the possibly psychotic Mel Gibson. Story is on the back burner as the two men square off against each other, more as adversaries than partners.

Gibson is all live wires and still carries Vietnam with him 20 years after the fact. Though he’s 15 years his senior and also a Nam vet, Glover is meant to be a sensitive man of the 1980s. Gibson simmers while Glover worries about his pension.

While the film is trying to establish its emotional underpinnings, a plot slowly unfolds involving a massive drug smuggling operation headed by the lethal Vietnam vet Joshua (Gary Busey).

Ultimately the common-ground for Glover and Gibson is staying alive as the film attempts to shift its buddy story to the battlefields of LA.

Gibson, in one of his better performances, holds the fascination of someone who may truly be dangerous. Glover, too, is likable and so is Darlene Love as his wife, but he and Gibson come from two different worlds the film never really reconciles.

1987: Nomination: Best Sound

Peter Iovino/Rogue Pictures

Gary Oldman and Odette Yustman in "The Unborn."

January 9, 2009

Mengele, the Holocaust and Horror Movie Staples

By MANOHLA DARGIS

Published: January 9, 2009

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This well-named, fitfully and presumably unintentionally funny mess may be the first horror flick to contain the assurance that “no actual Torah scrolls were destroyed or damaged in the making of this motion picture.” Written and directed by

David S. Goyer

,

“The Unborn”

does inflict harm elsewhere, notably on its hapless lead, the wincingly thin Odette Yustman as a hapless college student, Casey Beldon, who when not prettily posing in her underwear is screaming and screaming and sometimes running from a veritable laundry list of horror staples: creepy little children, creepy little ghost children and lots of creepy and crawly and slimy bugs.

More About This Movie

Yet the film teeters so perilously and routinely at the edge of camp, both with some of its casting choices and some unfortunate dialogue (the repeated warning that “Jumby wants to be born now”), that it’s hard to know if Mr. Goyer wants to make us howl with fear or laughter.

“The Unborn” is rated PG-13 (Parents strongly cautioned). Bugs and boos.

THE UNBORN

Opens on Friday nationwide.

s starring Mickey and Judy.

Final Thoughts:
A little tougher, a little snappier, Babes on Broadway moves Mickey and Judy into young adult territory, falling in love and fighting over personal ethics as they make their way to the top of Broadway. During the elaborate production numbers, director Busby Berkeley again mesmerizes with his restless, searching camera.

GIRL CRAZY

Wealthy New York playboy Danny Churchill, Jr. (Mickey Rooney) has caused one too many embarrassing headlines for his publisher father (Henry O’Neill), so much so that Mr. Churchill has decided to send Junior way out west to the Cody College of Mines and Agriculture – where women don’t attend. On arrival at the dusty desert college, Danny spots Ginger Gray (Judy Garland), the granddaughter of Dean Phineas Armour (Guy Kibbee). Her car has broken down and Danny, immediately on the make, tries to fix the car while trying to make a date with the unresponsive Ginger. Once on campus, Danny’s smart-alecky ways don’t mesh with the fun-loving, natural cowboys who attend Cody, causing Danny to quit the school. But Ginger’s scorn for his quitting hits home, and he decides to stay.

Hoping to impress her, he offers to help when he finds out that the school is going to be closed down by the state due to low enrollment. Proposing a rodeo and beauty contest – in which he will crown the winner – Cody suddenly realizes that he’s in big trouble. Ginger obviously deserves the award, but the governor’s daughter, who can prove influential in keeping the school open, also thinks Danny will crown her the winner. But when Ginger spots Danny’s locket around the beauty’s neck, she’s had enough of Danny’s lies. Will Danny save the school, as well as his relationship with Ginger?

The best film in this collection, Girl Crazy sports a new director for the series (Berkeley was replaced with studio journeyman Norman Taurog after the I Got Rhythm number was shot), as well as a new location – the far west, and the musical genius of Ira and George Gershwin. War clouds are nowhere to be seen on the Girl Crazy horizon; this is pure musical romantic comedy terrain, and the speedy, sprightly set-ups keep the laughs and songs coming at a rapid clip. Girl Crazy opens like gangbusters with the fantastic knock-about Treat Me Rough, where a sexy-as-hell June Alyson makes like Betty Hutton, leading the chorus girls to push Mickey around like a rag doll.

Changing location but maintaining the comedic tone, Mickey moves west and starts to spar with Judy, and the duo finally reach a mature, adult, funny, and surprisingly romantic chemistry, bantering with an engaging give-and-take to their scenes that make you wish they had starred together in more films after achieving this welcome chemistry (their fun, sexy Could You Use Me? is nicely naughty). Mickey as always is a ball of fire, and nicely goonish in his inept wooing of Garland (showing shades of his young punk from Boys Town), while Judy shows the kind of vulnerable, romantic fragility, in her later scenes with Mickey, that remind you of the heights she’d achieve in films like A Star is Born and I Could Go On Singing. There’s an amazing scene where Mickey is trying to apologize and win Judy back, with Mickey nuzzling her neck while conflicting emotions continually sweep across her face. It’s a tour de force moment, and Garland is simply luminous.

The musical numbers, most of them staged by expected director Chuck Walters (he dances with Judy in the Embraceable You sequence), are quite nicely staged; Walter’s grasp of Judy’s strengths (making unfailing the audience gets to consult with her acting and living the lines) are evident, particularly in the delightful Embraceable You romp. Most greeting, too, is Tommy Dorsey and His Orchestra, knocking outdoors one of the tightest sets you’ll ever see on Gershwin’s Fascinating Rhythm (I love how Taurog creates an almost epic feel to the absolutely staged number, by slowly, slowly tracking that camera around the band). Berkeley’s sole contribution to Girl Crazy – the I Got Rhythm sequence – is another stunning set bawling-out from his career, with the strange, compelling introduction of rows of cowgirls and cowboys employing whips and pistols in mechanical exactitude, elevating the sequence onto a quite surreal aircraft (evidently, the studio didn’t like his slow, expensive handling of this scene, and canned him). There’s a giddy, barely overripe quality to this final hoe down, and it leaves the viewer pleasantly surprised at the abundance of ingenuity that wraps up the film: like any excellent, each chain tops the whilom one.

The DVD:

The Video:
Unfortunately, there’s quite a bit of heavy grain in the black and white, full screen 1.33:1 video image of Girl Crazy, which is especially noticeable in the luminous close-ups of Garland. Otherwise, a pretty good transfer.

The Audio:
Like all the other films in this collection, the audio is a Dolby Digital English mono mix, which accurately recreates the original theatrical presentation. Subtitles and close-captions are available.

The Extras:
Extras for Girl Crazy include another terrific commentary track by John Fricke; Hollywood Daredevils, a vintage short; The Early Bird Dood It, a vintage cartoon; a stereo remix for the I Got Rhythm sequence, and a theatrical trailer. An audio-only bonus includes an outtake for the deleted scene, Bronco Busters.

Final Thoughts:
Probably Judy and Mickey’s best film together, Girl Crazy moves quickly from one marvelous song to the next, providing plenty of laughs and charm along the way. George and Ira Gershwin finds perfect interpreters of their music in Rooney, Garland and Tommy Dorsey. A pristine example of producer Arthur Freed’s advanced musical technique, with a knock-out special assist from temporary director, Busby Berkeley.

Final Thoughts on the Box Set:
If the Mickey Rooney and Judy Garland Collection: Ultimate Collector’s Edition came with just the films and no extras, it would rate a highly recommended, just because the films are so important in the American film history timeline: they started, however small at first, the trend for Hollywood to increasingly cater to the youth market. They also happen to be marvelously entertaining, carefree musicals with two of the screen’s most consummate performers. But the Mickey Rooney and Judy Garland Collection: Ultimate Collector’s Edition contains a wealth of extras, including Private Screenings with Mickey Rooney, a TCM interview special; The Judy Garland Songbook, which includes 22 musical numbers from16 of her films; and , with trailers from ten of their films together. As well, there is the fifty-page hardcover Bonus DVD Guide, written by John Fricke, and the Mickey Rooney and Judy Garland Portfolio, a sleeve containing 20 high quality black and white stills on heavy 5 x 7 postercard stock, all packaged in a heavy silver foil cardboard slipcase. This is wonderfully excessive packaging that collectors dream about for their favorite stars and films, and Warner Bros. is to be commended. Therefore, considering the highest quality of the films themselves, in addition to the marvelous extras and packaging, I’m giving the Mickey Rooney and Judy Garland Collection: Ultimate Collector’s Edition our highest rating here at DVDTalk: the DVD Talk Collector Series rating.

Paul Mavis is an internationally published film and television historian, a member of the Online Film Critics Society, and the litterateur of The Espionage Filmography.

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A brown Australian comedy in which a except for order cook (Neill) thinks his life is straightening wrong when he meets a excellent youthful girl and accidentally murders a few people…

Four girls smoke joints and torch trees. Another saga of back of beyond trick, nihilistic teenagers? Not quite. While her colleague Vicki is disruptive at school, seemingly an tolerant score benefit of the restricted blokes, and keen to try her happenstance as a singer, Alex is more introspective: wary of losing her virginity, fascinated by literature, and haunted by the in truth that her mum abandoned herself and her dad to go and stay in Sydney. Neither girl has much of a sparkle; both, in the conclusion, are determined to get antiquated of town, separately or together, depending on whether their friendship can withstand the tensions that arise when Alex develops an stimulated by in the moll who teaches her English. Athletic and unsentimental, the film nevertheless suffers from a little clumsy performances and from the reality that, for the essential half at least, its two leads are not as sympathetically haggard as they might be.

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Reviewed by Dennis Schwartz

A seaplane crash lands on the waters of some deserted South Pacific
island and the six diverse passengers plus the pilot and the stewardess
remove themselves from the wreck and take a dinghy ashore, where they will
find things look hopeless.

The pilot, Jack Bennett (Gregson), is a disgruntled employee carrying
on a love affair with the attractive stewardess, Teresa (Pier Angeli).
Jack is dissatisfied with this second-rate airline and his co-pilot, Willy
(Linder). Willy is finding it difficult to follow the captain’s orders
and rebels. When the plane makes a fuel stop and picks up some more passengers
on a small island, Willy doesn’t get the proper amount of fuel the captain
asked for because he is anxious to get back to his home and quit this dreadful
job. He doesn’t want to get stuck in this primitive island waiting for
the bureaucrats to finally grant him all the fuel needed. A hurricane warning
is issued. Because of the poor radio equipment that was not properly repaired
by Willy, the message is cut off and they don’t know how serious the storm
will be. Willy’s most fatal mistake was to purchase fire extinguishers
that were cheap, but would comply only in appearance with the air safety
codes. It was purchased at the price this airline run on a shoestring could
afford, the only trouble was that they were the wrong type of extinguishers
for an airplane, and if used they cause deadly fumes to be released. Of
course there was a fire and the extinguisher was used by a passenger rushing
into the cockpit to help out. Before he could be stopped by the co-pilot,
the fumes killed the co-pilot and knocked the pilot unconscious.

The two original passengers from the flight are the prim and haughty
Englishwoman, Miss Shaw (Jean Anderson), and a German physic’s professor,
Krauss (Gunnar), who is on his way to Australia to accept a teaching position.

Petersen (Clifford) is a cop on assignment to arrest the brash captain
of the Sea Spray, Mark (Eddie), for smuggling. His information that the
captain is a smuggler comes from the Britisher, the very slimy Whitey (Attenborough),
a weasel if there ever was one. Whitey is given an airline ticket to testify
in court against Mark and if he does, he will then get his reward money.
The handcuffed Mark when he gets a chance to be uncuffed by the cop who
has to go to the bathroom, threatens Whitey by telling him what will happen
if he testifies in court. This scares the living daylights out of the prevaricator.
Mark is the one who mistakenly used the fire extinguisher and was forced
to land the plane with the help of the revived pilot, who still had no
strength in his hands to navigate it.

Maria (Eva Bartok) is the bon vivant world traveler, where every
island she stops is paradise. She is a casual romantic friend of Mark’s
but can’t get closer than that. Her role is never developed, as it is based
on a generalization of what someone like her should be like.

The marooned passengers discover that they are on an island that
has cattle sheltered in lead buildings and an empty fleet of ships docked
around the side of the island. They soon realize that this is an island
used as a nuclear-test site, and in a few hours a nuclear-test bomb will
explode on the island.

The physic’s professor mentions that the next island, which is two
miles away, has the detonators that will cause the chain-reaction for the
bomb to go off and that if they can get to that island they can stop the
explosion from occurring. One of the problems, is that Whitey is intimidated
by Mark and doesn’t like it that the cop has uncuffed his prisoner. So
when he gets a chance he steals the cop’s gun and the plane’s dinghy, taking
it to the next island. The problem now, is that the professor can’t swim
so he has to teach Mark how to detonate the reactors. In the meantime,
Teresa goes diving into the water to find the toolbox in a search for the
tools Mark will need to do his mission. She nearly drowns but is saved
by Mark, and the two passionately kiss on the beach. This kiss is seen
by the dismayed pilot.

The British film is routine formula action fare, with a few “predictable”
surprises of heroism and villainy in the offering. What you have is familiary
known as a typical disaster B-movie, a precursor to all those other movies
of this genre that were very popular with audiences from the late ’70s
to the present. The film fits into the formula action mold that studios
use over and over again, with the obligatory tense action scenes that call
for a hero to be manufactured. 

Charles Bronson, his eyes just about open, strides finished with this film as a paternalistic melon-grower in Colorado, anti-racist, tolerant of unions (well, you can disburden oneself, he gets the melon-picking union girl in the end; how does Cristal keep her hair so coloured and twinkling after all that sweaty squeeze in?), who falls objurgative of local crooks and labour racketeers. But melon-grower beats S psychopath, casting aspersions at the police force en avenue. Fleischer handles a heavy script and most of the acting like no united should helve a melon; but he absolutely soars into competence at moments of tension, car chases, and general cinematic escapism.

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A talking picture that starts out with as much reckless romanticism as “Ira and Abby” has nowhere to go. But despite the predetermined hiccups in tone, this entirely New York comedy helmed by Robert Cary (”Anything But Love”) and written by Jennifer Westfeldt (”Kissing Jessica Stein”), who also stars, seems poised to do strong business as a very mainstream indie, thanks to its name cast, precise performances and proven sitcom method.

Ira Black (Chris Messina), a nebbishy, neurotic doctoral candidate in psychology and the child of two analysts (Judith Light, Robert Klein), can’t finish anything. Not his psychology dissertation, not his relationship with Lea (Maddie Corman), not even therapy (12 years, no results).

When his therapist dismisses him, Ira decides to remake his life. He joins a health club, where he meets Abby Willoughby (scribe Westfeldt). As the gym’s free-spirited salesperson and free-lance social worker, her ability to listen to other people’s problems makes her the therapist of the Stairmaster set.

Their chemistry is potent, and, almost immediately, Abby asks Ira to marry her. Fifty percent of marriages end in divorce, Abby says, so ours will have as good a chance as any. Ira — for whom such spontaneity is anathema — can’t come up with a good reason why not.

Thus, “Ira and Abby” is launched with an infectious elation, a no-guts-no-glory take on love that’s joyous — but where can it go?

It goes into a fatalistic summing up of marriage as an institution, a reflection on the human inability to accept happiness and an observation that what people need and want is someone to talk to.

In many ways, “Ira and Abby” is like deja vu all over again: Messina (”Six Feet Under”) recalls a younger Matthew Broderick. Westfeldt seems to be doing an homage to Lisa Kudrow on “Friends.” The Jewish Ira’s embrace by the beautiful shiksa Abby suggests the fulfillment of a Woody Allen daydream and the clash of cultures — Ira’s family vs. Abby’s hippie-ish parents (Fred Willard, Frances Conroy) — brings “Dharma & Greg” decidedly to mind.

As with many comedies of its ilk, “Ira and Abby” is salvaged to a large part by its supporting cast: Light is brilliant as Ira’s unsatisfied, Upper West Side, Gorgon-with-a-heart-of-gold mother. Klein delivers his lines in a way that wrings out every gem-like drop of comedic content.

Nonetheless, there’s a lot of what would be called stunt casting: Each time a familiar face shows up (Jason Alexander as a marriage counselor, “Saturday Night Live’s” Darrell Hammond and Chris Parnell as obsequious physicians), the mood of the movie is interrupted by theatricality rails.

Shot in breathtaking HD and making the most of its Manhattan settings, likeable “Ira and Abby” starts off deliriously, is derailed into reality, and finally settles into something in between.